Correspondence, manuscripts, photographs, memorabilia, and printed materials concerning Berg's lifelong interest in and work for his alma mater. Berg served the University in many capacities such as vice-president and president of the Alumni Association of Columbia College, 1954-1958, and member of the board of directors of the Alumni Federation of Columbia University, 1946-1958. The correspondence deals chiefly with alumni affairs; some of the major correspondents include Harry J. Carman, Lawrence Chamberlain, Frank S. Hogan, Mr & Mrs Richard Rodgers, and Arthur Hays Sulzberger. Among the photographs are two signed by Dwight D. Eisenhower. Also included is a typescript memoir of Berg's three years as a student in the Columbia School of Law (1927). Berg collaborated with three other students on this memoir. Aaron Berg's correspondence with Dwight D. Eisenhower is at the Eisenhower Library. Also included are literary autographs and manuscripts purchased on the Aaron Berg Fund.

Bob Adelman (1930-2016) studied photography with Alexey Brodovitch at The New School in the 1950s and became one of the photographers regularly documenting the life of the New School in the 1970s and 1980s. Adelman also taught at the school and was one of the most well-known photographers of the Civil Rights Movement. This collection consists largely of black and white photographic prints taken for the New School for Social Research. The collection also includes a small group of prints representing Adelman's work in documentary journalism, including photographs of Malcolm X and Martin Luther King, Jr., as well as photographs documenting life in New Orleans and Moscow, and the New York City Housing Authority.

Collection consists of Eugene Lang College Religious Studies professor Mark Larrimore's teaching and subject files. Student work in the form of publications and posters advertising campus events are heavily represented.

This record group consists of photographic records created, commissioned and compiled by The New School's Communications and External Affairs office. The prints, negatives, and digital image files largely cover the 1980s through the early 2000s. Includes images of campus facilities, faculty and administrators, Parsons School of Design classes, the Parsons fashion critics awards, commencement ceremonies, and guests on Inside the Actors Studio.

This record group documents the activities of the New School's Communications and External Affairs (CEA) office, one of the university's largest administrative units. CEA was the successor administrative unit to the New School Publicity Office, and the New School Communications Office, respectively. The bulk of materials here date from the late 1990s through 2013, and includes digital photographs, printed publicity samples, posters, and project files consisting of analog and digital records from the Design and Publications Office of CEA. Access is being provided to this partially processed record group. In the absence of a collection guide, please consult with an archivist for further details. Please note that requests for files stored on digital media will require extra time to access.

Correspondence, playscripts, screenplays, scenarios, short stories, and other manuscripts, drafts, photocopies, contracts and other documents, tearsheets, clippings, and other materials relating to his career as a screenwriter, playwright, and author of short stories. Correspondence with friends, students, admirers, and professional colleagues concern his teaching, playwriting, films, articles, photography, and literary topics. There are also two groups of letters from students and readers about his textbook, "The Human Nature of Playwriting" (1949). Among the cataloged correspondence are William Gibson, MacKinlay Kantor, Anna Louise Strong, Louis Untermeyer, and Carl Van Doren. Included are manuscripts, drafts, or photocopies of almost all his films, plays, and short stories, such as playscripts and drafts of his plays, "The Jazz Singer" (1922), "Skylark" (1939), "Jason" (1942), and others; screenplays and scenarios, many in photocopy, of "Trouble in Paradise" (1932), "The Merry Widow" (1934), "The Shop Aroung the Corner" (1940), "Suspicion" (1941), "Heaven Can Wait" (1943), and many other films; and manuscripts, drafts, tearsheets, and printed copies of his short stories and articles of film and television criticism. There are also many clippings and reviews, programs, and other printed materials about his plays and films.